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Monthly Archives: February 2019

Calibration of BenQ SW320 Monitor using i1Pro

Note: If it asks to download the latest software, be aware that when the update installation process starts, it looks hung, there is a button at the bottom right that you have to press to ‘continue’ however the button text is almost invisible.  Also ensure the Monitor is using the correct calibration preset – in the following examples I left it at Calibration 1 – next time rename it.

Monitor: SW320

Calibration software 1.3.4 now working with I1Pro.  Plug the monitor directly into the USB port on the back of the iMac and the i1Pro into the monitor.

Calibration Unit: I1Pro

Gamma 2.2

Panel: Native

Black Point:Relative

Profile Type: 16 Bits LUT

Light:D65

Luminance: 140

Patch: Large

 

Checking Sensor for Dust Spots

  1. Set camera to Aperture Mode
  2. ISO 100
  3. Manual Focus
  4. Highest Aperture Number on lens – F16 or larger number
  5. Photograph Monitor with a white screen (say blank word document) so that the monitor is out of focus, only dust will then be visible
  6. Examine image – preferably by importing into LR

Add Lens Flare to Precise Location

Use the info panel and move the cursor to the desired location of the flare.  Note the x,y coordinates. Create a new layer filled with black (Option Delete), Filter>Render>Lens Flair>Movie Prime and then Option Click on the preview window and enter the x,y coordinates.  Then change the blend mode to Screen.

Recover Highlight Detail – Photoshop

After recovering as much detail as possible in LR, PS will be required to complete the process for any blown highlights.  The objective is to pull grab on to even the slightest bit of contrast within the blown highlight and increase it – which by definition is to make the greys darker.

First create a detailed Luminosity Mask selecting only the blown highlights.  This is best accomplished by using Select > Color Range > Highlights then setting the fuzziness to select just the desired highlights.  Turning on Grayscale may assist in the selection.  Range should be set to 255 or as required for the specific image.

Create a Mask from the selection on a Levels Layer with a blend mode of Luminosity (to avoid changes to the colour).

Zoom way in to a blown highlight (2000-6000 %). It it the big blob in the example below to the right . Notice that is it not actually totally white – it has some detail which is not visible at 100%.  Use a Levels adjustment to compress the dynamic range of the highlights – in this sample 156,1,255 with whites limited to 242.  White output varies but would at least be something less than 250 – what ever is required to visualize the contrast in the whites.

Duplicating the Levels adjustment allows more refinement (also with Luminosity Blend Mode).  Use blend-if (double click the empty space on the levels layer) and move the black point to increase the contrast.  Feather the whites as necessary trying to pull the detail out of the white blob.
The final result is below.  I placed the two level adjustments into a group which would allow the opacity to be changed (3 orange layers).

 

Shadow/Highlight Luminosity Mast

These steps create a luminosity mask protecting the shadows:

  1. Open the Channels Panel in PS
  2. CMD+Shift+Click the RGB Channel which selects the brights.
  3. CMD+Shift+Click the RGB Channel again and more darker areas are selected (leaving only the shadows)
  4. Cmd+Option+Shift+Click selects only highlights
  5. Cmd+delete key fills the selection with Option+delete (FG/BG) or Shift+delete key for fill options.